hey everybody, long time no see. just wanted to let you know, a lot of changes are happening in my life, and i'll be taking some time to work on them. i'll be off the .org for an indefinite amount of time. thx sooooooooooo much for visiting and for your support, it means a lot to me. so long and good luck.
and iiiiiiiiiii'm BACK!
a ton a ton has happened in my life over the past year and a half. haven't been doing as much art as before, but i'm getting back into the swing of things. i got married, and that's going great. due to issues with my back, i recently left my job and i'm looking for work as a Graphic Designer/Illustrator. i've had some freelance projects, like some CD covers, logos, business cards, as well as illustrations. i'll post some of that stuff here, over time. i've also been getting back into studying; i feel like there's some rusty bits, but working on it every day will help to shake that off. anyway, cheers, and wish me luck! thanks for stopping by.
Looking good with the painting from life. One thing you might try: fill a layer over top of everything else with black and set it to "saturation", so you can turn it on and off to quickly desaturate your painting and see what it looks like in grayscale. Some of your value arrangements are so close together that you're missing out on a sense of light; looking at them in black and white would make that stand out more clearly, I think.
Here's a great article on what I mean: http://muddycolors.blogspot.com/2012...structure.html
JC - thanks for the crit and the great link. i tried going back and forth desaturating my pictures, and it's really eye-opening. i know that i need a ton of work in the value department; just have to get better at it. i've started to work on the Reilly method from Apollo Dorian's book, so i hope that helps. anyway, thanks again, and feel free to offer any tips or crits you like. i really want to grow as an artist, so all would be welcome.
ugh, it was one of those days. just seemed like nothing was working artistically. but i'm going to keep working at it. the one bright spot? i finished a series of small paintings for practicing environments, something i never do and need to do more of, and i'm happy with how the last few have turned out; i feel like i've progressed a little. i've also started working throughApollo Dorian's book Values For Pictures Worth a Thousand Words; trying to wrap my head around values and lighting in a practical sense; i understand this in theory, but i'm really horrible at it when it comes down to it. back to the grindstone...
One thing I've found helpful in controlling values is to limit the values I use to 5 (at least for the block in; I blend between them later). GregPro here on CA did a bunch of really great tutorials on this technique. Here's one:
This gives you a few important advantages. You're controlling your values by default. You're never at risk of making the dark parts of your light areas darker than the light parts of your dark areas (muddying your values). And simplifying your values will make your image read very clearly; it will give it punch.
I use values 0, 40, and 60 for the lights, and 85 and 100 for the darks, but any 5 definitively separated values will do.
I do still not know whether to post this or not.. but honestly, it took me too long to write it not to.
Thanks for dropping by and commenting on my sketchbook I don't quite know what to say here.. but I get the feeling that you tend to keep your colors the same when you slide the brightness up and down.. usually there is also a change in color in one or another direction depending on what color the light is that still gets there(be it from the sky another human standing behind an object.. or yeah, whatever. Now again.. I do see you do that sometimes, but I get the feeling that you neglect it a bit and that your color choice is currently rather random. Well.. anyhow. It is probably not your weakest spot, so do whatever you want to do. I like that red scarfed girl on this page Pretty dynamic pose.
But.. you should probably go back to the basics and learn how to render the basic forms. Or uh.. practice it.. at least start thinking about light and shadow and not just what you might see.. but more about what you would actually see. That kind of sounds dumb, eh? But your shadow-placement is pretty random as well.. there is no real consistency in your lighting. It's like.. take those balls you rendered. say we have a big lightsource and can so to say see more of the ball be lit than on the other paintings.. which I think you did from the left to the right(I'm talking about the upper ones here, not the ones lit from the front). Now.. for all of those there comes a point where direct light doesn't hit anymore and for all of them it is not the same point. Yet the shadow you put beneath it(I mean.. you put one) is a pretty random shape yet again. Mostly not even circle. But depending on the distance&size of the lightsource you would even get different sizes of shadows. And well.. if that isn't even anything you wanted to indicate.. the spots where the hardest shifts occur should be the same spots with all of those balls. I don't really know why I'm writing all of this.. most of it should be clear to you and just be some sort of sloppiness. But honestly.. I think you shouldn't be that sloppy. I think you're avoiding thinking about it right there when you do that. (Might also be something you do to keep you productive.. but honestly, I feel you don't learn too much that way. At least not if you're 'studying' like that.)
Then again.. I might be wrong.. (I have no means of insulting your efforts here, really!) :/ Well anyhow. I hope it helps you in some manner and that you understand what I'm trying to tell you. Some of your thumbnails are really nice, mostly the bottom right ones.
(o o o
o o x
o x x)
The other ones you spent more time on are quite nice, too
And last but not least.. I think your perspective is slacking a little. I mean.. it's probably the root of all trouble. And yeah.. even for that you should study the basic forms(I'm not talking about circles here).
So yeah.. my conclusion is.. efficiency wise: Do perspective studies. Motivation wise.. do whatever you want..
Hey Aaron, nice sketchook. what are your plans as far as art, are you planning to become a professional or just a hobby? I am sure you wrote it somewhere. either way you should practice fundamentals more and go back to it every once in a while, I do it, the masters do it, refreshing the basics is really good and you always learn something you did not understand or notice before, its natural.
work on your values especially, push out your lights even more and your darks as well, make things pop and have better contrast in your pieces, if you like I can do an over paint of any art piece you wish if that will help to give you an example. keep it up man, will be back for moooaaaah(Igor style)
JC - thanks for the link and the tips. great link to the muddycolors...i could stay there all day! and Greg Pro is...a pro. the things you mention, about the blocking in and keeping the values in their categories (lights with lights, shadows with shadows) are exactly what the Apollo Dorian book talks about, so it's definitely being taken in. it's slow going, but hopefully i will come to understand it well. wish me luck!
Nysta - thank you for the critique. i've been studying for a while, but over the past 2 years or so i have gotten HORRRRRIBLY out of practice (as you may see over the gap in my posting), and i don't think i had ever properly mastered value and form and such before moving on to color. i am attempting to correct that now, so yep, i'm going back to the basics. as for the balls and specific questions about them, they were studies from a specific page in a specific book which had lighting conditions in a certain way. my goal wasn't to be exact, but to begin to understand the concepts in a general fashion. the cast shadows weren't important, they weren't even included, but i felt it would be a little more clear to indicate them, so i blocked them in roughly. i do understand what you're saying, though; sloppiness doesn't look good, and it doesn't communicate that you know what you're doing. maybe i SHOULD be more careful in the future to make my studies look as good as possible. we'll see. i tooootally know what you mean about the environment stuff, and i agree. the bottom ones are where i feel i hit my stride. i tried not to spend too much time on them; they're more about getting better at environments and abstracting, but every little bit helps. really, thanks for the crits dude, i do appreciate. i'm trying to become a better artist and there's some things i don't see cause i'm too close to the pictures and don't always see my faults or my weak points, so keep letting me know. best of luck to you as well, dude; i'll see you in your thread.
DK - thanks for the visit Dan! it's been a while, right? as for my plans, i'm currently pursuing work professionally in graphic design, and i get some freelance gigs here and there in illustration. personally, i just want to get better at art, and painting, so like i've been aiming at and you and others have suggested, i'm going back to basics, learning to manage my values better cause i don't do such a great job of that. i find that i also tend to get too detailed too quick, so i'm working on establishing a process and an order, working big to little, which will help me in my traditional painting as well...it just is more cost-efficient digitally. too many people on this site are toooooo good, and it's disheartening and inspiring at the same time. but i'm going to give it my all. i try to post pretty much everything here, good and bad, so that i and others can learn from my misses and my hits. thanks for the encouragement dude; it'll be a life-long journey of learning, but hey, i enjoy it, and i want to get better. can't stop...won't stop. no Miley.
so as i said, going back to basics, trying to absorb stuff from Apollo Dorian (a student of Frank Reilly). i'm starting to understand it more now, but i need lots and LOTS of practice...
trying to make sure to post regular updates. i have a couple projects i'm working on at the moment, but i'll post images as i can. in the meantime, here's some sketches and some studies.
Last edited by purb36; January 26th, 2014 at 01:47 PM.
pie - thanks for the compliment, dude. as for imagination stuff, definitely will do, man, that's what this is all for. thanks for the visit, and i'll see your delicious rendering soon.
tNiz - yeah, dude, doing these form studies has really helped me think about lighting more and about being consistent. often i find myself losing track of the lighting and just shading with no constant source in mind. i'm trying to break the habit, but it's hard. these are helping a lot, though; i'm starting to visualize situations a little better, so that's good. see you at yours, dude.
more value studies. i'm gonna get this nailed down someday...
I'm really love'n what I'm seeing here! These studies are awesome, and I'm glad to see you using both physical and digital mediums. That's super valuable and will really help you develop your style. Keep this going, I just love it!
Eric - thanks, dude! i feel like i have a lot more control with traditional drawings vs my digital stuff, and i'm trying to correct that gap. thx for the encouragement, dude, and keep going with your stuff too (as if you wouldn't :p).
Danny - thanks for the encouragement. yeah, it's taking more time than i would like, but i know that in time it'll become second nature, so i'm gonna be patient and keep at it. "Slow and steady wins the race."
so i've been pretty busy these past couple weeks. freelance work has picked up, and i've been too busy to do any painting. but i've done some sketching. more to come soon.
Hey purb! Congrats on getting married!!! I always appreciate your comments on my SB.
Hmmmm are you saving your images as jpeg or something? There appears to be a hazy dust look to all of your digital painting images...
If you are, try saving as .png haha D:
Besides that, try and work on the transition of your strokes. The surface always appears to transition roughly and that might not be what you're going for intentionally. What I would advise is for you to get a 100% opacity brush without pressure sensitivity locked-change this via brush settings- and brush each value transition manually ( keeping in mind planes ), WITHOUT blending in between each shift. Then after you've done EVERY value shift, take a pressure sensitive brush and only lightly transition the two together... don't use the smudge tool. And slightly try an airbrush with loooowwwwwww opacity( 20-30% max ) on the edges if roughness still is apparent. This will help solve the problem hopefully. If you're already doing this, need visual to what I mean, or it's not the issue please tell me... and I've got some other possible reasons why it might appear this way.
Anyways keep up the workin'..
I'll subscribe now to your SB...couldn't find it via your signature before,
which is why it took me so long to comment. My bad!
( even though it's listed on your profile erk )
Pou - thanks for the visit, and the congrats. no idea what you may think about marriage, but for us it's been pretty awesome. my wife is my best friend, and i'm soooo glad that i get to be hers!
as for my comments, they may not all be helpful, but at the least i hope that they are encouraging at the least. too many cooks spoil the soup, especially when the soup is already coming along well. you got a good thing going, so other than the occasional comment where i think i can help, i'll keep watching and encouraging.
again, thanks for stopping by, and thanks for the comments. as for the stuff about jpegs being dusty and all, i'm not quite sure what you mean; would you be able to show me? i'm still working on my painting process, and at the moment, i'm mostly concentrating on recognizing and reproducing values to describe form. edges are somewhere in there, though, cause they're key to describing form. definitely need to keep working on my transitions. one of my goals with my studying is to be able to paint in the same way with traditional paints. so partially because of that, and partially because of personal preference, i only paint with full opacity (and i don't use PS...that's another story). but yeah, i do need to work on my blending and my transitions. i'll try to pay more attention to that and hope that i can get better at that in the future.
made my siggy more obvious, so hopefully that helps. i'll be by your thread, and i'll make my mark. thx for the visit dude; see you soon.
still busy and still kicking. freelance projects keeping me busy; they've been fun and i'm learning a lot. calling it quits on a recent study; learned a lot, but more to go. i have a lot of sketches to scan, so they'll come with the next update. thanks for the visit, let me know that you came by!
hey purb! Here hopefully this will help you differentiate the quality difference between .jpg and .png
It depends on the resolution ( quality ) of the .jpg but these both have the same 300dpi [which is print quality]. You should notice that the edge quality is better in the .png ( left ) than in the .jpg ( right ). It is even more noticeable with more blended paintings. In addition, it is not too visible here but .jpgs change the hue and value of a picture ever so slightly. Theyre a bit more diluted looking and not as saturated. Theres a bunch out there explaining this...but I'm lazy and the topic is expansive so go look it up for yourself ahha!
Feel free to test other variations of save formats as well, .png changes the colors ever so slightly too. At least I think so XD
And glad you're choosing that method to work on your form! ( solid opacity ). I'll keep into consideration you working on your value quality. Buttt why not try to transition a little more in the same study? It only requires a bit more effort and I think you'll learn more out of it in less time used ( which is even more prevalent for a freelancer ). Edge quality in itself is important to describing the form. Depending on whether an edge is softly transitioned or harsh describes the lighting and shadowing. Plus you might develop a weird eyesense that you'll have to correct later if you don't try and practice it now.
What program do you use?
And no problem buddy! I will stop by as well at your sb often ( when you upload ) I appreciate the support because yes....many advices can become overwhelming, but feel free to drop some advice off if you notice something you think is important ^___ ^
Pou - i see what you mean about the grainy quality of the jpgs. at larger sizes, i think they won't matter much, and the png filesize can become enormous really quickly. but at the sizes i'm posting at, pngs will most likely show better quality at about the same filesize. cool beans. about the transitions, thinking about it honestly, i'm probably more lazy than i'd like to think or admit. but that's all something i need to work on, the motivation as well as the technique. thanks for the kick in the butt; i do need it.
been going back to anatomy more, being motivated by my waning ability at it and also by Pou's studies. learning to work not just with lines, but with value shapes as well. i'll get there eventually.
*edit - actually, pngs take up a TON of space for the same pixel size.
Last edited by purb36; 1 Day Ago at 08:28 AM.